Nips has been super-busy recently, which is a good thing, because I love her work. Normally I wax lyrical about her fills, but in this instance it is a straightforward chrome fill, with some minimal black accent lines and spots.
Nips, M32 Cycle path, Bristol, February 2026
What makes this piece for me is the wall preparation of a dark blue background, and the vibrant lime green/yellow outline, which combine to help this piece stand out and shout. Imagine if there had been no background or strong border, the writing would be in danger of being absorbed by the wall altogether. A wonderful bold piece from Nips.
I feel particularly squeezed for time today, so this might be short. As you will know the lion’s share of my photographic street art trips are accompanied by my dog. We wander about in some of the less desirable places of the city and snap away. Occasionally he will pull me in a direction I wasn’t planning, but that may lead to a new discovery, and so it was when I found this modest piece by 3Dom.
3Dom, Berwick Road, Bristol, February 2026
Painted on a rather grubby hoarding, the letters 3DOM can clearly be made out. I love his style of writing, which he has made all his own, and it is always immaculately presented. He includes the words ‘there were lobsters on the Titanic waiting to be eaten’, which I think means that there was a small and just breadcrumb of a positive outcome from the sinking of the Titanic – there might be a hint of class war in the sentiment too. My guess only – It isn’t a phrase I have heard before.
I was tipped-off by Jee See that he had painted this piece in Dean Lane, and a couple of days later he was painting on the roundabout, unfortunately I arrived at that one literally minutes too late, as someone was painting over his piece there. At least I got to this one in time.
Jee See, Dean Lane, Bristol, February 2026
I have enjoyed Jee See’s work for years now, having first met him a long time ago under the M32, while he was painting a column there. His SEISMIC pieces have become a signature design, in which he folds his letters on top of one another and makes them stand out with deep drop shadows. This one is painted in rather downbeat greys and blacks, but manages to command this end of the wall. Great to see Jee See out and about.
I knew from my Instagram feed that Biers has changes his letters recently from WD40 to RABIES, and this is the first piece that I have seen in his new persona. I have to say that I really like his choice and the enthusiasm that has come with it. Furthermore, I think it gives him more scope than his former WD40 option.
Biers, Sparke Evans Park, Bristol, February 2026
The letters in this wonderful chrome piece are a little unruly, in a good way. I also note that the second half of his letters BIES, isn’t too far away from BIERS, which are the letters I first associate with him. The sparse decoration in the letters is just the right amount, and the contrast with the red background separated only by the thinnest of yellow lines. This might signal the start of a refreshed Biers – I hope so.
There is no stopping Creamylines at the moment, he is without doubt the most productive street artist in Bristol at this time, and he has hit a purple patch at a time when many other artists are only just awakening from their winter slumbers.
Creamylines, M32 Spot, Bristol, February 2026
This is an awesome example of Creamylines’ work, with a huge sun drawing the eye in. There is so much positivity in this piece, forever making connections between people and our environment. His style, variously describes as ‘patchwork quilt’ or ‘stained-glass window’ is quite unique and puts him in a category all of his own. There is so much to like about this, and searching out all the different hidden components is a fun experience. Keep it up!
I enjoy observing new artists who try to break out onto the scene, and after all, all graffiti/street artists have to start somewhere. As they progress, they will make mistakes, both in their art, and equally importantly regarding etiquette. Even I fall foul of this from time to time – there are codes and principles, even if there are ‘no rules’. On this occasion, Seed painted his large letters recently, over a beauty by Werm. Generally speaking you shouldn’t paint over something that you are not equal to or better than, and Seed isn’t yet at Werm’s level. The logical consequence is that you end up with only high-end pieces on all walls, and that is where taggers and bombers come in, freeing up walls to be painted again.
Seed, Dean Lane, Bristol, February 2026
Seed is learning gradually, and improves from piece to piece, but his work is still rather crude. His letters here are large and square, and his 3D drop shadow missing on the bottom of them. He is experimenting with some plasma lines to break up the large swathes of pink. He has also included a little cartoon-style character, completing the combination piece. Keep practicing and perhaps stick to practice walls for the time being.
Since first creeping onto my radar, Solar has gone from strength to strength, and is now turning out some high quality pieces that are most attractive to the eye. In this instance I will forgive the overwhelming amount of brown and concentrate on the style of the piece.
Solar, Sparke Evans Park, Bristol, February 2026
The letters are isolated from oner another thanks to a yellow drop shadow, and their shapes are rather unruly, although adhering to his overall style. Each letter has the appearance of a boulder with cracks running through, a fairly common device used in graffiti writing. The whole piece is finished off with some contrasting starbursts and a not to PLB (Placebo) and tribute shout-out to Paroe.
Paul Don Smith, Surbiton Station, London, February 2026
This is the last of three pieces by Paul Don Smith, that I found at this spot just outside Surbiton Station. I am guessing that the artist favours this spot, perhaps because he is local, or maybe the wall panels favour his square presentation.
Paul Don Smith, Surbiton Station, London, February 2026
Each of his pieces have features popular culture icons, and this one celebrates the hit TV series from South Korea ‘Squid Game’. Paul Don Smith combines his stencils with general spray paint, that softens any hard edges, in a sort of collage presentation. Very nice work, and I’ll be looking out for his stuff the next time I go to any London street art hotspots.
This is the fourth piece from a collaborative wall, that offers a masterclass in wildstyle graffiti writing. A group of artists, from Cardiff I think, joined Hemper and Turoe to create this magnificent ‘gallery’, heralding a fresh start to 2026. The stunner was painted by Karmone, who has appeared in Natural Adventures a couple of times before, but is far from a regular.
Karmone, M32 roundabout, Bristol, February 2026
The letters spell MRAK, which is KARM backwards. Every part of this writing oozes class, confidence and expertise. The letter shapes are disguised enough to make reading slightly tricky. The wonderful complementary colours transition perfectly with some clever techniques and devices being used. There is a great drop shadow bounded at the bottom with a fine pulsing yellow line. Even the dark grey background has subtle patterns, raising it above the ordinary. A lovely piece from Karmone.
Natural adventures 